Joerg Polzfusz

I assume that the chemicals didn’t properly came in contact with the film all the time: not enough agitation, not enough chemicals (especially in combination with too much agitation and hence effects of the centrifugal force), film stuck on other parts of the film, …. But I am not an expert in this.

Did Logmar ever produce fully working cameras at all? Their first S8-camera only exists as prototypes (with non-working xlr-mic-connectors on all cameras, random or permanent problems with sound-recordings on various specimens,…). Their second S8-camera also only exists as prototypes (okay, this might have been Kodak’s fault and not Logmar‘s). And their third S8-camera simply got canceled a few weeks after the announcement…

I would assume that the dial is only in f-stops and hence guess that the red/green arrows are only for indicating something like „totally closed“ and „fully opened“.

When 18fps is fine, you could also look out for a Canon 310xl (the non-af-version): f1.0 lens, 220° shutter, … https://global.canon/en/c-museum/product/cine291.html Pros: It’s very compact and light. And there’s an optional wide-angle adapter. It turns the camera into a „focus free“ system which is great for events with a lot of spontaneous action. Cons: This camera cannot be set to 24fps and its auto-exposure doesn’t support the Vision3 500T!

TriX can be pushed and pulled. But I never tried it myself. I have heard that this will have an impact on the grain and the contrast. But I forgot the details. There is also an alternative approach, but it‘s a DIY approach and hence might not be suited for paid jobs: https://www.filmkorn.org/lightening-up-too-dark-blackwhite-reversal-films/?lang=en

Hi! There are a few things that you should keep in mind: * You can replace the Beaulieu‘s lens and use a lens with an f-stop of 0.9, 1.0, 1.2 or 1.4 instead of „only“ 1.8. * In most cameras, the TriX will be recognized as only 160ASA instead of its box speed (200ASA). That’s because of Kodak’s strange design of the cartridge notches and because many cameras can only differ between 40 and 160ASA. This is especially true for XL-cameras. * Some cameras will accidentally activate the internal Wratten 85 filter. This will only reduce the amount of light that reaches the film. But it is completely useless as the Wratten 85 is only meant for tungsten balanced color films. (For B&W, it will act as an orange filter.) You might be able to manually deactivate it. And you should check whether you have deactivated it on your Beaulieu. * Most S8-cameras have a „permanent“, „non-flickering“ viewfinder. This means that it features a semi-transparent mirror that is permanently in place and is permanently causing a loss of 0.5 to 1.5 f-stops (depending on the camera) by redirecting a fraction of the light to the viewfinder. In other words: Simply switching to XL cameras might not improve the situation. What about using Vision3 500T? (Disadvantages: very large grain and not all cameras support 500 ASA.)

The reason is that Canon changed the design and other features between the different cameras with „814“ in the name: https://global.canon/en/c-museum/camera.html?s=cine&s2=8mmcam One main difference between the 814XL-S and the other models named 814 is that the 814XL-S could record sound on the magnetic soundtracks (if their still is a company offering pre-striped S8-Films in the larger sound carts). Due to the additional weight caused by the sound recording parts, the need for a better handle is obvious. (Whether the 814XL-S' handle really is better is heavily debated ever since the camera’s release. ?) BTW: There are many S8 cameras where the batteries are stored inside the body instead of inside the handle. But this didn’t prevent them from having problems caused by leaking batteries that caused corrosion of nearby cables. Not to mention that is majorly of cameras is 50 years old … In other words: It’s better to check the individual camera than to condemn whole models/brands.

BTW: DaVinci should have three different stabilization modes and sliders for smoothness and strength of the effect. Did you already played with different settings?

Hi! VirtualDub and its Deshaker plug-in are both „Windows only“. But there’s an older version of Mercalli for Mac (the demo adds a watermark, but you could at least see for free whether it solves the problem): https://www.prodad.com/Video-Stabilization-for-Professionals/Mercalli-SAL-Mac-48950,l-us.html Adobe AfterEffects are also available for the Mac. And there’s also a free trial: https://www.adobe.com/products/aftereffects/free-trial-download.html

Hi! You can try VirtualDub with the Deshaker plug-in (both available for free): http://www.guthspot.se/video/deshaker.htm Or proDad Mercalli: https://www.prodad.com/Video-Stabilization-for-Professionals/Mercalli-V6-SAL-Windows-97864,l-us.html Or the „warp stabilizer“ that is included in Adobe AfterEffects.

Hi! Did anyone played around with tools like this that use AI to remove background noise, echoes etc. from voice recordings? https://podcast.adobe.com/enhance

Hi! You might want to take a look at this article: https://harddrivetalk.com/how-long-can-an-ssd-store-data-without-power/

Some sources for new and used 35mm rewinds: https://van-eck.net/en/product/van_eck_rewinder_35mm_films_rw-600_m-35-2/ https://urbanskifilm.com/supplies.html Of course, you can also find them from time to time on eBay, …

Hi! There are adapters for using smaller formats on rewinds for larger formats (e.g. https://van-eck.net/en/product/adapter_kit_-9_pcs-_for_16mm_rewinders/ or https://www.thingiverse.com/thing:6173760 ). But AFAIK there’s no adapter for the other way round - simply because the larger format is heavier and usually needs much larger reels. Good luck! Jörg

https://www.rbb24.de/wirtschaft/beitrag/2023/09/studio-babelsberg-streik-hollywood-kurzarbeit.html

https://manage.kmail-lists.com/subscriptions/web-view?a=HHTxWc&c=VjWYSU&k=a0a0581cbc6bc08c8fcfa2ae14e6fd6e&m=01H8PTZBHP3ND7MQS67VTZWYKH&r=34RMDUPa

https://www.infinitioptics.com/about Could it be made/distributed by the above company? Or by the below company? https://www.infinity-usa.com/

And a Korean(?) magnifier: https://www.fotocasion.es/catalogo/ocular-seculine-u-13c-universal-magnifying-eyepiece/45600/ But it looks like it also doesn’t come with an proper adapter for your camera. ?

Another generic magnifier (most likely also from Seagull, but at least also from China): https://www.ebay.de/itm/354379483629

I found a link with some details about Seagull‘s „generic viewfinder magnifier“: https://www.amazon.co.uk/Seagull-Viewfinder-Magnifier-Canon-Minolta/dp/B006GP9BUI

Hi! For many 35mm still photography cameras there have been special viewfinder magnifiers, e.g. this one: https://www.bhphotovideo.com/c/product/234516-REG/Leica_12004_Viewfinder_Magnifier_1_25x_for.html But I have not seen anything like this for your Beaulieu. The only accessory that comes to my mind is the „angle viewfinder“ that includes a small magnification, too. But it will change your way of working. I remember a generic viewfinder magnifier made by Seagull (China), a company that obviously went bankrupt 10 or more years ago. It came with some adapters that made it attachable to e.g. a Minolta Dynax 5 and a Fujica ZC1000 (like Seagull’s generic angle viewfinder). But I don’t know whether it came with a matching adapter for your Beaulieu. And if I remember correctly, at least on the Dynax 5, only 90% of the camera‘s viewfinder was visible. So some information, that was displayed at the viewfinder’s border, wasn’t visible with this magnifier anymore.

B&W? Color? Reversal? Negative?

https://sites.google.com/site/olexserviceskinor/ Two alternative links for Olex in the Ukraine (above and below) https://sites.google.com/site/olexservicelenses/home/new-solutions/pl-upgrade-of-lomo-prime-spherical-lens-with-konvas-2m-lens-housing-outside-slide-pin-system

Did you try this company in Braunschweig (Germany)? http://www.ffs-tritec.de

Ukraine? Then it was most likely „Olex Services Konvas“ - but the link seems to be dead: http://sites.google.com/site/olexserviceskonvas/